ABOUT: Staff & Board

Staff

Kristin Marting
Founding Artistic Director

Kristin Marting is Co-Founder and Artistic Director of HERE and a director of hybrid work based in NYC. As Artistic Director of HERE, she cultivates artists and programs all events for two performance spaces for an annual audience of 30,000. Under her leadership, HERE has garnered 16 OBIE awards, 2 OBIE grants for artistic achievement, the 2015 Ellen Stewart Award from New York Innovative Theatre Awards, a 2006 Edwin Booth Award (“for Outstanding Contribution to NY Theatre”) from the CUNY Graduate Center, five Drama Desk nominations, two Berrilla Kerr Awards, four NY Innovative Theatre Awards and a Pulitzer Prize nomination. She co-created and co-curates HARP, HERE's Artist Residency Program. For 19 years, she curated The American Living Room, an annual summer festival featuring over 30 new works by emerging artists; and for 8 years, Queer@HERE, an annual festival of gay and lesbian work. She was recently named a nytheatre.com Person of the Decade for outstanding contribution, a Leader to Watch by Art Table and honored with a BAX10 Award for Arts Managers. Kristin is also co-director of PROTOTYPE: opera theatre now, an annual festival of contemporary opera-theatre and music theatre works, which she co-founded with Beth Morrison and Kim Whitener.

She has constructed 28 works for the stage (9 original hybrid works, 5 opera-theatre and music-theatre works, 9 adaptations of novels & short stories and 5 classic plays) and is currently developing Assembled Identity at HERE and Silent Voices with the Brooklyn Youth Chorus. Other recent projects include IDIOT with Robert Lyons; Bombay Rickey, an opera cabaret on Yma Sumac in Prototype 2016; Trade Practices, an immersive theatrical experience where the audience determines the value of various different plays; Lush Valley, an immersive work on citizenship and civic responsibility, and James Scruggs’s solo eight channel video work Disposable Men. She also directed Sounding and Dead Tech (collaborative works adapted from Ibsen), both of which received prestigious MAP Fund awards. Her work has been supported by the NEA, NYSCA, DCA, Axe-Houghton Foundation, Greenwall Foundation, Harkness Foundation for Dance, Jerome Foundation, and Peg Santvoord Foundation; reviews have appeared in all major New York media. Prior works have toured around the US. She has also collaborated on several large-scale political action art events, including The Line. For the last 20 years, she has been developing a unique hybrid directorial/choreographic form that features a “gestural vocabulary” used both as an emotional signifier and as a choreographic element. This vocabulary, though specific to each project, is in a state of constant development with an ever-growing set of permanent gestures being added to the repertoire.

She has taught directing and creative producing at Bard, Brown, NYU, Columbia, Harvard, New School and Williams College among others. She regularly serves on grant panels for NEA, NYSCA, DCA and TCG, among others. Previously, Marting co-founded and served as co-artistic director of Tiny Mythic Theatre Company for nine years. She served as Robert Wilson’s assistant for HAMLETMACHINE and SALOME. She graduated from NYU with honors in 1988.